Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Sculpture (Sculpture)

For the work Wigan Pit-Brow Women: Intersections with the Caribbean (mobile) , Candice Lin studied English Victorian Arthur Munby’s racialized and masculinized drawings of working-class white female miners. Specifically, Lin’s work critically addresses Munby’s observations about the laborers’ femininity that was more concerned with the modesty of the women, than that they toiled in life-threatening situations. “Pit brow women” or “pit brow lasses” were female surface laborers at British collieries.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Sculpture (Sculpture)

From suicides, to gang violence, to the epidemic abuse of force by police departments (predominantly against Black men), to school and mass shootings, there is perhaps no more urgent issue in the United States than gun control. The color blue is a proxy for both sadness, and a color that is emblematic of American law enforcement services. I Am Blue, 1 by American Artist is a sculpture that fuses a school desk with a ballistic shield.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Photography (Photography)

Phan Quang’s portrait series Re/cover grapples with a lesser-known history in Vietnam. After World War II, many Japanese soldiers who fought in Vietnam stayed in the country. They married Vietnamese women, had children, and lived in the country until Japan recalled them home.

Film & Video (Film & Video)

In Escaped Lunatic , a steady stream of figures run across the screen, sprinting, jumping, and rolling through the streets of Houston. The work is part of a trilogy that borrows its narrative structure from early-20th-century cinema. The artist employs the chase genre, which has often depicted African Americans in scenes of flight from various forms of authority.

Textile (Textile)

Designed by the artist and fabricated in collaboration with Kashmiri artisans in India, Baseera Khan’s Psychedelic Prayer Rugs combine visual iconography traditional to Islam, such as the crescent moon and lunar calendar, with brightly coloured symbols of personal significance to the artist: a pair of embroidered sneakers, a fragment of an Urdu poem, and the Purple Heart medal. Visually seductive yet charged with political and symbolic associations, the rugs bridge elements of American popular culture with aspects of Islamic worship that may be misunderstood in contemporary secular contexts. Encouraged by Khan to take their shoes off and interact with the rugs, viewers participate in a decolonizing process as they meditate on their poetic allusions or perform the traditional salat, the daily prayers that constitute one of the five pillars of Islam, the others being faith, charity, fasting, and pilgrimage to Mecca.

Drawing & Print (Drawing & Print)

Transaction/Evacuation is a collaborative painting by Khadim Ali and Sher Ali, and is part of a larger collaborative body of works by the artists, which share the same title. Like Khadim Ali, Sher Ali is also part of the Hazara people, and experienced massive personal and social trauma early in life, losing his parents at the age of ten and witnessing the devastation of the Afghan Civil War in his native Kabul. The horned figure in the foreground represents Rustam, a legendary hero in Iranian mythology and central character in the Shahnameh, who depicted here by the artists as a potbellied demon, stripped away of its heroism.

Textile (Textile)

Designed by the artist and fabricated in collaboration with Kashmiri artisans in India, Baseera Khan’s Psychedelic Prayer Rugs combine visual iconography traditional to Islam, such as the crescent moon and lunar calendar, with brightly coloured symbols of personal significance to the artist: a pair of embroidered sneakers, a fragment of an Urdu poem, and the Purple Heart medal. Visually seductive yet charged with political and symbolic associations, the rugs bridge elements of American popular culture with aspects of Islamic worship that may be poorly understood in contemporary secular contexts. Encouraged by Khan to take their shoes off and interact with the rugs, viewers participate in a decolonizing process as they meditate on their poetic allusions or perform the traditional salat, the daily prayers that constitute one of the five pillars of Islam, the others being faith, charity, fasting, and pilgrimage to Mecca.

Painting (Painting)

Karla Dickens’s collage Beneath the skim board addresses issues of discrimination and racism towards Indigenous communities in Australia through a constellation of historical and current events. Dickens spent over a year collecting and modifying ubiquitous objects into sculptural collages that commemorate former circus performers of Indigenous Australian descent. Assembled from various fabrics, knick-knacks and other materials, these frenetic compositions celebrate the campy glamour of circus performers, but also articulates the hidden mistreatment experienced by the performers, and more broadly, the lives of Indigenous communities in Australia.

Photography (Photography)

Ha Tae-Bum’s “White” series, started in 2008, begins with photographic images from the mainstream media depicting sites of conflict or crisis. The artist eliminates human presence, miscellaneous details, and all color from the images, then “rebuilds” them into quiet, achromatic models with thin white paper. Once complete, the models are photographed in a nearly identical composition as the original image.

Film & Video (Film & Video)

In this work the artist stages a humorously violent “intervention” against male-dominated cultures of art production in present-day China. For this video, Wong accompanied six male friends from art school to a group show of their work titled “Inside Looking Out” at Osage Gallery in Beijing. Throughout her visit, she was rarely acknowledged for her own creative accomplishments and was more frequently introduced as an artist’s girlfriend, and often without name.

This work presents the image of an immolated monk engraved on a baseball bat. The flames surround him eroding the extremity of the bat. The delicate sculpture refers to the sacrifice of the Buddhist monk, Thich Quang Duc, who immolated himself on June 16th 1963, in reaction to the discrimination and the repressive politics of the Diem Catholic regime (regime installed by the Americans) towards the Buddhists.

Film & Video (Film & Video)

The installation “East Side Story” is based on events that took place in the streets of Belgrade in 2001 and Zagreb in 2002, during the Gay Pride demonstrations, where the participants were the victims of verbal and physical injury by neo-Nazi groups and other citizens. This work is composed of two projections: the first uses television images of the demonstrations while the second is the reconstitution of the events performed by dancers. This piece witnesses nationalism at work in society, aiming particularly at the “internal enemy that sexual minorities might represent”.

Sculpture (Sculpture)

The work La Loge Harlem focuses on the history of Harlem and its development over the last 200 years. It was a playground for the rich in the 19th century and where Old New York had its summer homes and diversions. The center image is a portrait of the artist’s grandmother when she was 16 in 1949.

Painting (Painting)

The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism. Historically, in countries such as the US and South Africa, the term “boy” was used as a pejorative and racist insult towards men of color, slaves in particular, signifying their alleged subservient status as being less than men. In response, Am I Not A Man And A Brother?